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Wili

A wili (plural wilis) is a female spirit or ghost in Slavonic folklore, characterized as the restless soul of a young woman who died unmarried or betrayed, who punishes faithless men by compelling them to dance until they perish from exhaustion.^[1]^[2] These entities embody themes of vengeance and unfulfilled love, often emerging at night in groups to ensnare wanderers, with their ethereal beauty masking lethal intent rooted in personal tragedy.^[3] In broader Slavic traditions, wilis align with vila or nymph-like beings capable of manipulating storms, healing, or prophetic visions, though their vengeful dancing motif highlights a specifically punitive aspect.^[4] The wili archetype profoundly influenced Romantic-era arts, most notably in the 1841 ballet Giselle, ou les Wilis, where a corps of wilis, led by the imperious Queen Myrtha, summons the protagonist from her grave to join their spectral ranks and exact retribution on her deceitful lover.^[5] This depiction, inspired by librettist Théophile Gautier's research into Slavic nocturnal dance legends, amplified the wili's image in global culture as symbols of betrayed femininity and supernatural justice, diverging somewhat from folklore's more varied nymphal traits like storm-summoning or water affinity while preserving the core motif of fatal compulsion through dance.^[6]

Mythology and folklore

Origins and etymology

The term "wili" (plural "wilis") originates from Slavic folklore, deriving from the Proto-Slavic root *vila, which denotes a class of female spirits or nymphs associated with nature, winds, and the supernatural realm. Linguistic analysis traces "vila" to possible connections with verbs meaning "to wind" or nouns for "whirlwind" (e.g., Church Slavonic vichъrь), evoking the spirits' ethereal, swirling movements and control over storms. This etymon appears across South and West Slavic languages, with variants like Polish wiła, Serbian vila, and Bulgarian samovila, consistently portraying these beings as beautiful, otherworldly females who inhabit forests, mountains, or skies rather than strictly aquatic domains.^[7] The earliest documented references to wilis as specifically vengeful brides—young women who died before their weddings and compel men to dance to exhaustion at midnight—emerge in 19th-century Romantic-era collections of oral traditions by European scholars. Heinrich Heine, in his 1835 travelogue De l'Allemagne, vividly depicts "die Wilis" as a Slavic legend of nocturnal dancers drawn from graves, punishing unfaithful lovers through inexorable waltzes, based on accounts from German and Slavic informants during the era's folklore revival. These descriptions, echoed in contemporary lexicons like Meyers Konversations-Lexikon, frame wilis as distinct from broader nymph-like vilas by emphasizing the pre-wedding death motif, rooted in agrarian Slavic customs linking untimely female mortality to restless undeath.^[3]^[4] Scholars distinguish wilis from related entities like rusalki, the latter being water spirits often tied to drowned suicides or murdered women, luring victims through song near rivers rather than compelling terrestrial dances. This differentiation highlights wilis' focus on bridal betrayal and midnight gatherings in meadows, as preserved in ethnographic records from Polish and South Slavic regions, without the rusalki's explicit aquatic vengeance. Cognates appear in Scandinavian valkyrie lore—warrior choosers of the slain with fateful dances—but Slavic wilis prioritize romantic tragedy over martial selection, underscoring regional variations in Indo-European spirit taxonomy.^[5]^[8]

Characteristics and behaviors

In Slavic folklore, wilis are depicted as the restless ghosts of young women who died unmarried or before their wedding night, often due to betrayal by lovers or unfulfilled betrothal vows. These spirits are characterized by their ethereal beauty, pale complexions whiter than snow, and nocturnal activity, emerging from graves or forest glades primarily at midnight to seek retribution against faithless men. Unlike benevolent nymphs in some traditions, wilis embody a punitive causality, where their undead state stems directly from unresolved earthly passions or deceptions, compelling them to haunt the living without possibility of repose or redemption in core accounts.^[3]^[9] Their primary behaviors revolve around seductive entrapment and lethal exertion: wilis lure male victims with enchanting dances, often performed naked under moonlight in clearings or town squares, compelling participation through supernatural force until the men collapse from physical exhaustion, heart failure, or madness. This mechanism reflects a realistic biological toll—prolonged, uncontrollable dancing induces dehydration, muscle fatigue, and cardiovascular collapse—serving as folklore's causal explanation for death rather than mere symbolism. Victims, typically those who jilted brides or proved unfaithful, face no escape; refusal invites storms or shapeshifting assaults, underscoring the wilis' vengeful agency rooted in personal grievance. Traditional tales emphasize this inexorable punishment, with wilis dispersing at dawn, leaving corpses as warnings.^[3]^[9]^[10] Regional variations highlight adaptive folklore transmission across Slavic areas, with Polish wiły often portrayed as atoning for prior frivolity through midnight hunts, Serbian vilas as cursed maidens summoning gales against betrayers, and Bulgarian samodivi as unbaptized echoes enforcing similar dances of doom. In contrast, Slovene accounts occasionally soften them into "White Ladies" aiding heroes, though the dominant motif remains retributive lethality toward men. These differences, documented in 19th-century collections, arise from local ethnographies blending pre-Christian animism with Christian influences, yet consistently prioritize the wili's role as enforcers of marital fidelity via fatal compulsion.^[3]^[9]

Cultural depictions and influence

The most prominent cultural depiction of Wilis appears in the Romantic ballet Giselle, ou Les Wilis, premiered on June 28, 1841, at the Paris Opéra with music by Adolphe Adam, libretto by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges, and choreography by Jean Coralli and Jules Perrot.^[11] In this work, Wilis are portrayed as spectral brides who compel men to dance to exhaustion at midnight, drawing from Slavic folklore as referenced in Heinrich Heine's Über Deutschland (1834), yet adapted to emphasize ethereal beauty and pathos over unmitigated vengeance.^[12] The ballet's enduring success, with thousands of global performances and its status as a cornerstone of the Romantic repertory, facilitated the westward transmission of Eastern European lore, preserving elements of oral traditions amid 19th-century Europe's fascination with exotic supernaturalism.^[13] However, critics have noted its romanticization softens the figures' folklore malevolence—where retribution stems causally from betrayal—into sympathetic tragedy, prioritizing balletic spectacle and redemption arcs that align with Western sentimentalism rather than authentic Slavic fatalism.^[14] This influence extended to opera, notably Giacomo Puccini's debut work Le Villi (1884), an opera-ballet where vengeful spirits of jilted women, explicitly inspired by Giselle's Wilis, haunt and punish the unfaithful through dance-like torment, blending Italian verismo with supernatural motifs.^[15] Such adaptations in 19th-century European arts aided in disseminating Slavic motifs beyond their origins, countering folklore erosion from industrialization while enabling cross-cultural exchange; Gautier's libretto, for instance, credited Heine's accounts for introducing Wilis to French audiences, sparking broader literary interest in vampiric maidens.^[16] Yet, this process often exoticized the lore, detaching it from contextual rural Slavic beliefs in retribution as a natural consequence of moral breach, and reframing it through a lens of Gothic romance that prioritized aesthetic allure over ethnographic fidelity, as evidenced in contemporaneous reviews decrying the dilution of primal horror.^[14] In modern media, Wilis feature sparingly, with revivals largely confined to ballet reinterpretations or niche fantasy nods rather than widespread reinvention. Productions like those by the Bolshoi or Royal Ballet maintain core choreography but occasionally incorporate contemporary staging—such as amplified lighting for otherworldliness—prompting debates over fidelity; claims of Wilis embodying "female empowerment" in updated narratives overlook their pre-modern roots in inexorable causal punishment for infidelity, rendering such progressive overlays anachronistic to the original punitive realism.^[13] Sparse appearances in fantasy literature or games, such as tangential vampire kin in role-playing modules, underscore limited evolution, prioritizing preservation of Giselle's archetype over radical reimagining.^[17]

People

Notable individuals in medicine

Heinrich Willi (1900–1971) was a Swiss pediatrician specializing in neonatology who co-identified Prader-Willi syndrome through clinical observations of affected infants at the University Children's Hospital Zurich.^[18] Born in Chur as the sixth of nine children, Willi trained at the University of Zurich, earning his medical degree in 1925, and advanced to assistant medical director at the hospital by 1930, focusing on newborn care where hypotonic neonates drew his attention.^[18] In collaboration with endocrinologist Andrea Prader and physician Alexis Labhart, he contributed to the 1956 publication describing the syndrome's core features in nine children, initially termed Prader-Labhart-Willi syndrome, based on empirical patterns rather than speculative etiologies.^[19]^[20] The syndrome manifests with neonatal hypotonia, poor feeding, and failure to thrive, transitioning to insatiable hyperphagia, rapid obesity, short stature, small hands and feet (acromegaly), hypogonadism, and intellectual disability, with incidence around 1 in 15,000 births.^[21]^[22] Willi's neonatal expertise highlighted early muscular weakness and respiratory issues, distinguishing it from purely endocrine disorders, though initial interpretations leaned toward hormonal imbalances before molecular evidence clarified the genetic basis.^[23] Diagnostic criteria solidified post-1956 via clinical scoring systems emphasizing these traits, with confirmatory genetic testing revealing paternal deletions or imprinting failures on chromosome 15q11.2-q13 in 70-75% of cases.^[22] Genetically, Prader-Willi syndrome arises from absent expression of paternally inherited genes in the 15q11-q13 region, due to deletion (65-75%), maternal uniparental disomy (20-30%), or imprinting defects (1-3%), enforcing a paternal-specific inheritance pattern absent in the maternal counterpart (Angelman syndrome).^[24]^[25] This imprinting mechanism underscores biological determinism, where gene dosage from the father dictates phenotypic outcomes, refuting nurture-dominant hypotheses prevalent in mid-20th-century psychology that attributed obesity and behavior to environmental or psychosocial factors alone.^[22] Early endocrine-focused treatments, such as growth hormone therapy introduced later, addressed symptoms but did not alter the underlying genomic etiology confirmed by FISH and methylation analyses in the 1980s-1990s.^[21] Willi's foundational work thus pivoted recognition toward heritable anomalies, countering transient attributions to glandular dysfunction unsupported by later DNA sequencing.^[18]

Notable individuals in arts and other fields

Willi Forst (born Wilhelm Anton Frohs; 7 April 1903 – 11 August 1980) was an Austrian actor, screenwriter, film director, and singer prominent in German-language cinema during the interwar and postwar periods.^[26] He directed and starred in films such as Maskerade (1934), noted for its visual elegance and Viennese operetta influences, and Bel Ami (1939), an adaptation of Guy de Maupassant's novel emphasizing sophisticated character studies.^[27] Forst's career spanned over 50 films, with production peaking in the 1930s and 1940s amid Austria's annexation by Nazi Germany, during which he navigated censorship by focusing on light romances and musicals; post-1945 works like Operette (1940, released later) reflected his commitment to Austrian cultural identity.^[26] Willi Baumeister (22 January 1889 – 31 August 1955) was a German painter, typographer, and scenic designer associated with abstract art movements.^[28] Trained at the Stuttgart Academy of Fine Arts from 1906, he developed a style blending organic forms and geometric abstraction, influenced by African and prehistoric art, as seen in series like Wall Pictures (1920s–1940s) and Monom works (1940s).^[29] Baumeister taught at the Bauhaus in 1921 and exhibited internationally, with over 1,000 works produced; his output declined under Nazi-era "degenerate art" prohibitions, leading to pseudonymous sales, yet he maintained productivity in private.^[28] Postwar recognition included retrospectives, affirming his role in bridging Expressionism and European modernism.^[29] Herbert Willi (born 7 January 1956) is an Austrian composer and conductor specializing in orchestral and operatic works.^[30] After studies in music education, theology, bassoon, and piano at the University of Innsbruck and Salzburg Mozarteum—earning a composition diploma in 1983 under Helmut Eder—he received commissions from ensembles like the Salzburg Festival (composer-in-residence, 1992) and Pacific Music Festival (2007).^[30] ^[31] Notable compositions include operas such as Der Berg (1999) and symphonic pieces like DSONG (2022), premiered by groups including the Sofia Philharmonic; his style incorporates experimental elements, diverging from strict tonality, which has elicited mixed reception for prioritizing sonic innovation over traditional narrative coherence.^[32] ^[33] Willi Resetarits (21 December 1948 – 24 April 2022), also known as Ostbahn Kurti, was an Austrian singer, comedian, and actor in folk and Austropop genres.^[34] Emerging in the 1970s, he released albums blending Burgenland dialect with satirical social commentary, achieving commercial success with over 20 records and collaborations like Opus's live performances; his cabaret-style acts critiqued migration and inequality, drawing from personal immigrant roots.^[35] Resetarits performed until his death, including at the 2022 Vienna Refugee Ball, and received human rights accolades for advocacy, though some viewed his humor as polarizing amid Austria's political shifts.^[34]^[36]

Other uses

Broadcast media

WILI (1400 AM) is a radio station licensed to Willimantic, Connecticut, that began broadcasting on October 5, 1957, from initial studios on Route 66.^[37] The station relocated to 948 Main Street in 1961, increasing its power to 1,000 watts daytime and 250 watts nighttime under FCC authorization, before moving again to 720 Main Street in 1987.^[37] In 1985, WILI adopted a full-service adult contemporary format emphasizing current hits alongside classic favorites, incorporating talk segments, local news, and coverage of community events and sports such as high school athletics in Windham County, appealing primarily to older demographics amid shifting market preferences for localized content over national music trends.^[37] Ownership passed to Hall Communications, Inc., in September 2005, maintaining the station's emphasis on regional service without subsequent major format overhauls documented in public records.^[37]^[38] WILI-FM (98.3 MHz), a sister station to WILI AM under the same Hall Communications ownership, operates from shared studios in Willimantic and broadcasts a Top 40 contemporary hit radio format branded as "Hit Music i-98.3," targeting younger listeners in eastern Connecticut. As the inaugural FM signal in Windham County, it provides stereo programming distinct from the AM's adult-oriented approach, focusing on popular music rotations while simulcasting select local content during emergencies or events.^[37] The FM outlet's development reflects post-1970s FCC allocations enabling expanded frequency use in smaller markets, with no recorded format shifts to talk or nostalgia post-2000, preserving its role in serving transient youth audiences amid competition from digital media.^[39]

Technology and software

FREE-WILi is an open-source embedded development tool comprising hardware and software components designed to facilitate testing, debugging, and prototyping of electronic systems.^[40] The system integrates interfaces for GPIO, SPI, I²C, UART, radio, LEDs, audio, and scripting, targeting developers and hobbyists working with microcontrollers such as ESP32 variants.^[41] Released around 2023, it emphasizes accessibility by enabling hardware interaction without extensive coding, through both command-line and graphical tools.^[42] The core software element, FREE-WILi GUI, provides a cross-platform graphical user interface for configuring and controlling hardware peripherals in real time.^[43] It offers intuitive controls for pin assignments, protocol settings (e.g., baud rates for UART, clock speeds for SPI/I²C), and radio parameters, allowing users to toggle states, monitor signals, and perform fuzzing tests directly from the interface.^[44] Compatibility extends to specific chips like the ESP32-P4-EYE, with firmware flashing support via integrated scripts.^[42] This setup reduces barriers for non-expert users, such as hobbyists prototyping IoT devices, by abstracting low-level register programming into visual toggles and presets.^[45] Beyond the GUI, FREE-WILi supports advanced scripting via CLI tools, Python libraries, Rust bindings, and WebAssembly for automated workflows and custom applications.^[46] For instance, users can script event handling for GPIO inputs or audio playback, enhancing utility in embedded debugging scenarios.^[41] Updates as recent as September 2025 have expanded features like improved file management and updater utilities, maintaining compatibility with evolving hardware platforms.^[41] While praised for its all-in-one approach in niche communities, the tool's documentation, though functional, may require supplementation from GitHub repositories for complex integrations.^[42]

Modern media references

In 2023, North African artist Draganov released the rap single "WILI", with lyrics in Moroccan Darija centered on themes of emotional suffering and resilience, employing "wili ya wili" as a repeated interjection of woe rather than a reference to mythological entities.^[47] Produced by TheWhiteG and Slvcer, the track exemplifies commercialization through phonetic appeal in urban music genres, diverging from traditional Wili lore's emphasis on vengeful spirits by abstracting the term into personal lament.^[48] That same year, Moroccan performer Ghita Lahmamssi debuted "WILI WILI", a pop-oriented song whose official music video garnered over 8.1 million YouTube views. The lyrics portray romantic discord and confusion, utilizing "wili wili" to evoke frustration in relational contexts, prioritizing melodic accessibility over fidelity to folkloric retribution motifs.^[49]^[50] This usage highlights entertainment-driven adaptation, achieving viral reach in Arabic-speaking audiences while sidelining cultural depth from original Slavic or Germanic origins. In September 2024, Canadian electronic producer Poirier teamed with Malian singer Djely Tapa for the Afro House track "Wili", blending West African vocal styles with dance rhythms. Released via Novisa Records, it integrates the term into a fusion of global electronic sounds, potentially nodding to abstract emotional or spiritual themes but lacking evident ties to European Wili folklore, favoring cross-cultural commercialization.^[51]^[52] Such instances underscore niche successes in streaming platforms—evident in playlist inclusions and remixes like Bosq's 2025 version—but illustrate a broader dilution of mythic punitive elements into phonetic or exclamatory devices for pop appeal.

References

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WILI definition in American English - Collins Dictionary
a female spirit or ghost from Slavonic mythology, believed to punish faithless men by dancing with them until they die of exhaustion.
[2]
Wili - definition of wili by The Free Dictionary
(ˈwɪlɪ) n. (European Myth & Legend) a female spirit or ghost from Slavonic mythology, believed to punish faithless men by dancing with them until they die of ...
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Beware the Wandering Wilas of Slavic Mythology | Ancient Origins
The wandering wiles of Slavic mythology have often been compared with fairies. There is however one thing that sets them apart: their terrible tempers.
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Supernatural beings in Slavic folklore - Журнал Родноверие
The Vila, Wila, Wili, or Veela are the Slavic versions of nymphs, who have power over storms, which they delight in sending down on lonely travelers.Missing: characteristics | Show results with:characteristics
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Wili, Vila, Rusalka, Mavka - Giselle - Ballet Alert!
Feb 8, 2021 · “There is a tradition of nocturnal dancing known in Slav countries under the name of Wili. The Wilis are affianced maidens who have died before ...
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vila - Wiktionary, the free dictionary
Etymology 1 Inherited from Proto-Slavic *vila. Cognate with Bulgarian самовила (samovila) and вила (vila, “fairy”), Slovene vila (“fairy living in the forest ...English · Galician · Portuguese · Serbo-Croatian
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Rusalka/Rusałka - Slavic Water Demon - Slavic Mythology Saturday
Feb 27, 2021 · While the aforementioned Wiły lure in men with song (often as a group), Rusałki are typically more solitary and quiet. They are presented as ...
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Vila of Slavic Folklore | Into Horror History | J.A. Hernandez
Oct 3, 2023 · ‍Meyers Konversations-Lexikon defines "wilis" (from vilas) as female spirits or vampires representing betrothed girls who died before marriage.
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[PDF] Mythological Intertextuality in Nineteenth Century Ballet Repertory
May 20, 2006 · Beaumont suggests that the word "wili" is a German spelling of the word "vile" of Slavic origin, meaning vampire. In fact, Heinrich Heine states ...
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A Brief History of Giselle - Cincinnati Ballet
Oct 1, 2024 · The story of Giselle, originally titled Giselle, ou les Wilis, was created by composer Adolphe Adam and first performed at the Paris Opera in ...
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A History of Giselle | PNB Blog - Pacific Northwest Ballet
May 18, 2011 · Gautier's other literary inspiration was a passage in Heinrich Heine's On Germany, about Wilis, spectral brides who rise from their graves ...
[13]
6 Ways Giselle Will Give You the Wilis - Pittsburgh Ballet Theatre
Oct 19, 2012 · The legend of the Wilis predates Giselle and assumed shifting forms throughout Eastern European folklore. From maidens who were cursed by God to ...
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Death and the maiden | Culture - The Guardian
Mar 21, 2002 · How did Giselle, a twee tale of wronged peasants, dastardly noblemen and jilted ghosts, become a ballet classic? By Judith Mackrell.
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Behind "Giselle" With Composer Adolphe Adam | Ballet Arizona
Jan 26, 2023 · Heinrich's poem was about retelling a Slavic legend regarding the wilis. The wilis, are spirits or ghosts who have died before their wedding day ...
[17]
When Puccini Got the Willies | Operavore - WQXR
Aug 3, 2012 · The story of the Willis captivated the writers Théophile Gautier and Jules-Henry Vernoy de Saint-Georges, the choreographers Jules Perrot ...Missing: adaptations 19th century Europe
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World-Renowned “Swiss” Pediatricians, Their Syndromes, and ...
Oct 9, 2023 · Heinrich Willi (1900–1971) was born in Chur as the sixth of nine ... Willi became the Assistant Medical Director in Zurich in 1920. In ...Missing: biography | Show results with:biography
[19]
What is Prader-Willi Syndrome
PWS was first described by Swiss doctors Andrea Prader, Alexis Labhart, and Heinrich Willi in 1956 based on the clinical characteristics of nine children they ...
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Prader-Willi Syndrome History - Rare Disease Advisor
Jul 29, 2023 · 1956 Foundational Description of PWS. In 1956, the Swiss doctors Andrea Prader, Heinrich Willi, and Alexis Labhart described the phenotypic ...
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Prader-Willi syndrome - Symptoms and causes - Mayo Clinic
Nov 14, 2024 · This rare genetic condition leads to physical, mental and behavioral problems, including being hungry all the time.
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About Prader-Willi Syndrome (PWS) | NICHD
Dec 29, 2021 · Andrea Prader and Heinrich Willi first described the syndrome in the 1950s. One of the main symptoms of PWS is the inability to control eating.
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What Is Prader-Willi Syndrome? - Symptoms and Causes
Prader-Willi syndrome (PWS) is a rare genetic disorder characterized by chronic hunger, growth hormone deficiency, and behavior challenges.
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A genetic condition that spans both extremes of the nutritional ...
Prader-Willi syndrome (PWS) is a complex genetic disorder caused by lack of expression of genes on the paternally inherited chromosome 15q11.2-q13 region.
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Genotype-Phenotype Relationships and Endocrine Findings in ...
Prader-Willi syndrome (PWS) is a complex imprinting disorder related to genomic errors that inactivate paternally-inherited genes on chromosome 15q11-q13.<|separator|>
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Forst, Willi - Senses of Cinema
May 5, 2006 · Willi Forst b. Wilhelm Anton Frohs b. 7 April, 1903, Vienna, Austria-Hungary d. 11 August, 1980, Vienna, Austria
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Willi Forst - Biography - IMDb
Willi Forst was born on April 7, 1903 in Vienna, Austria-Hungary [now Austria]. He was an actor and director, known for Bel Ami (1939), Operette (1940) and ...
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Baumeister, Willi, 1889–1955 | Art UK
German abstract painter. Unlike most significant German painters of his time, he stood apart from Expressionism and is regarded as the most 'European' in spirit ...
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Willi Baumeister at Museum Folkwang
Feb 23, 2024 · Willi Baumeister (1889–1955) was one of the few German artists to achieve recognition beyond the national art scene as early as the 1920s ...
[30]
Herbert Willi - Schott Music
1956. Born on 7 January in Vorarlberg/Austria · since 1983. Composition studies with Helmut Eder at the Salzburg "Mozarteum", diploma in composition and M.A. ...
[31]
Willi, Herbert | Encyclopedia.com
Willi, Herbert (b Vorarlberg, 1956). Austrian composer. Won Austrian state schol. 1985. Comp.-in-residence Salzburg Fest 1992. Works incl.
[32]
Herbert Willi DSONG - Schott Music
Aug 8, 2022 · Austrian composer Herbert Willi dedicates his new composition DSONG to the basic Korean principle of connection. It premiers on 14th of August.
[33]
Herbert Willi – Sofia Philharmonic
The Austrian composer Herbert Willi (1956) studied music education and theology at the University of Innsbruck parallel to studies in bassoon and piano at the ...Missing: biography | Show results with:biography
[34]
Willi Resetarits, Austria - Bruno Kreisky Stiftung
Willi Resetarits was born on December 21,1948 in Burgenland, Austria. He studied English and sports in college with the intention of becoming a teacher, as a ...
[35]
https://www.discogs.com/artist/672543-Willi-Resetarits
[36]
https://jammusiclab.com/news/wann-de-musik-vuabei-willi-resetarits-1948-stinatz-burgenland-2022-wien
[37]
WILI's history
WILI moved to downtown Willimantic at 948 Main Street in 1961. At that time power was increased to 1000 watts day/250 night. The FCC allowed us to broadcast ...Missing: license | Show results with:license
[38]
About | Hall Communications Radio Group
Hall Communications Radio Group, a female-owned company, has been in operation since 1964 in the Providence, RI; Lakeland, FL; Burlington, VT; Norwich-New ...Missing: WILI | Show results with:WILI
[39]
[PDF] Federal Communications Commission DA 22-739
Jul 11, 2022 · (g) “Effective Date” means the date by which both the Bureau and the Company have ... WILI-FM. Willimantic, CT. 173117. WNLC. East Lyme, CT.
[40]
FREE-WILi
FREE-WILi is the embedded development tool you've been waiting for. Designed to simplify the process of testing, debugging, and developing electronic systems.Software · FREE-WILi · Free_WiLi · Products
[41]
FREE-WILi: Quickstart
Sep 30, 2025 · FREE-WILi GUI. Cross-platform interface for GPIO, SPI, I²C, UART, Radio, LEDs, audio, scripting, and file management. FREE-WILi Updater.
[42]
Freewili - GitHub
Sep 10, 2025 · WILEye-Firmware Public. This repo contains firmware files and scripts to flash the ESP32-P4-EYE to support FREE-WILi.
[43]
FREE-WILi GUI
Take full control of your hardware with FREE-WILi GUI – a powerful, intuitive, and free interface to manage GPIO, SPI, I2C, UART, and Radio settings.
[44]
How to use FREE WiLi Fuzzer using FREE WiLi GUI - YouTube
Aug 18, 2025 · Learn how to use the FREE-WILi Fuzzer inside the FREE-WILi GUI to test, debug, and explore embedded systems in real time.
[45]
Scripting with FREE-WILi Devices - CLI, GUI, Python, Rust & Wasm
Sep 26, 2025 · The Scripting section provides different ways to interact with FREE-WILi devices, from command-line tools to high-level programming libraries.
[46]
Free-Wili — freewili documentation - GitHub Pages
Included are two CLI executables to interact with a Free-Wili without writing any code. ... Event Handling (GUI) · Audio Recording · Audio Playback - Tone · Audio ...<|separator|>
[47]
Draganov – Wili Lyrics - Genius
Feb 11, 2023 · Wili Lyrics: Wmakach li dawini a wili ya wili / Mn ghir li y3merni makaynch li ywassini / 3a9li chayf w9albi li 3amini / Wydirha lkass a ...
[48]
Draganov - WILI Lyrics ( Paroles - كلمات ) - RiFow
Feb 12, 2023 · lyric Draganov - WILI (Prod by TheWhiteG X Slvcer) · وماكانش لي يداويني · ياويلي ياويلي · غير لي يعمرني ماكاينش لي يواسيني · عقلي شايف · وقلبي ...
[49]
Ghita Lahmamssi - WILI WILI [Official Music Video] (2023 ... - YouTube
Feb 3, 2023 · Ghita Lahmamssi - WILI WILI [Official Music Video] (2023) / غيثة لحمامصي - ويلي ويلي. 8.1M views · 2 years ago #Ghitalahmamssi #Wili_Wili ...
[50]
Wili Wili | GHITA LAHMAMSSI Lyrics, Meaning & Videos - SonicHits
The lyrics of GHITA LAHMAMSSI's song "Wili Wili" tell a story of a complicated romantic relationship. The singer expresses their frustration and confusion about ...
[51]
Wili - Single by Poirier | Spotify
Listen to Wili on Spotify · single · Poirier · 2024 · 1 songs. ... 20241 song, 4 min 25 sec. Wili · Poirier, Djely Tapa. More by Poirier.
[52]
Wili feat. Djely Tapa (Bosq Remix) | Poirier
Wili feat. Djely Tapa (Bosq Remix) by Poirier, released 24 October 2025.